Steve Silberman (digaman) Wed 18 Apr 07 10:26
I never thought of that. It's interesting.
Gabriel Leis (gummyazul) Wed 18 Apr 07 10:36
Clarifying the name - first of all the band is called The Love (times) Nowhere. Came to me in a dream, no intentional Dylan reference, though there must be one, because I've heard the association before. I really liked the aesthetic of the written name; 7 letters on each side of an X has a very balanced and focused look. It's also a yin/yang type of thing, dark and light, love vs. evil. We basically end up with a bunch of nothingness, and the universe challenges us to create our own meaning, or live without it. Too much? I'll stop now....
Steve Silberman (digaman) Wed 18 Apr 07 11:00
> though there must be one, because I've heard the association before. "Love Minus Zero/No Limit" is one of Dylan's greatest songs. Thanks for the clarification.
David Julian Gray (djg) Wed 18 Apr 07 11:44
Listening to tracks at the web site right now... haven't received the CD yet... Like what I'm hearing so far... pedal steel on the epynomious track? would like more info on who's who and who plays what at the web site... I'm hear and I'm listening because I've really enjoyed Adam's participation on the Well every since he's been participating on the WELL - sure wish I could be at the Bottom if Hill the 21st... but it is not be (3000 miles away 'n' all...) 'twould be great to hear y'all live and meet and greet my community in the flesh as I've not been able to (I played a WELL gathering ca. 1986...) for a long time ... appreciating the posts about life on the road ... I've been there brothers - and, it does have it's charms... I actually think its charms outway its curses... we used to call I-5 "Purgatory" ... and don't complain too much, back in the day (voice get's feeble and strangely acquires Southern Appalachian accent) we didn't have Starbucks to complain about... looking forward to my 13 year old drummer/guitar player son's impressions of your music...
Steve Silberman (digaman) Wed 18 Apr 07 11:45
I enthusiastically invite everyone, WELL and non-WELLish, to join this conversation. Non-WELLfolk can send questions of interest to email@example.com and I will ask ze band. Thanks!
Steve Silberman (digaman) Wed 18 Apr 07 12:33
Gabriel wrote: > Around the time I was learning I was very in to sixties rock music as well; Rolling Stones, Greatful Dead, Pink Floyd, Traffic, Hendrix, Jefferson Airplane (Jorma Kaukonen was my guitar hero, Embryonic Journey anyone?), Quicksilver, and all the rest. Obviously, those are some pretty heavy predecessors. I remember talking to a kid on the way to a Dead show circa 1989 or so. I asked him to name all of his favorite bands, and he enumerated a list very much like the one above. I remember thinking, "Well, those are all fantastic records, but I had them when I was in highschool myself, and this kid is 15 years younger. Wouldn't it have been weird to ask some teenager what his favorite records were in 1969 and getting the answer, 'Frank Sinatra, Benny Goodman, and Duke Ellington'?" Here's my point. I *still* listen to Sinatra and Ellington myself, because those are great recordings. But what was it about the great groups and innovators of the '60s -- from the Beatles to Janis to Hendrix to the Dead, on and on and on -- that made them such enduring models so many subsequent generations? And, to stir the pot a little, what are the downsides of having models that powerful endure for so long in the culture? Isn't it the job of the younger generation to KILL THE IDOLS of previous generations?
Scott MacFarlane (s-macfarlane) Wed 18 Apr 07 12:58
I just had a listen to your CD, "Odyssey," and must say that you have an immediately catchy sound, but with depth and texture. The deeper parts are where I get the Pink Floyd connection, but the pop sensibility reminds me at times of Jules Shear (Jules and the Polar Bears). Its a rich combination allowing for you guys to create your own identity, your own polished sound. Very nice, IMHO.
Scott MacFarlane (s-macfarlane) Wed 18 Apr 07 13:10
A couple questions for Adam. I noticed there is a different name on the Odyssey CD for the drummer. These guys aren't sucking you into a Spinal Tap thing, I hope. Also, in addition to studying poetry with Steve S., I noticed you studied with the Haight poet Charles Potts, now from Walla Walla and never from Patterson. I met Potts at a reading he gave at the Mad Linguist in Prescott, AZ a few years ago. He embossed his signature into the book I bought. Does your poetry writing and study translate into you writing lyrics. And are you going to be penning lyrics for this group? Finally, since I just went through a gauntlet of personal Inkwell questions myself, I am assuming that you and the band members are all in your mid or late 20s.
Adam Perry (adamice9) Wed 18 Apr 07 13:22
Lots of questions to answer! I'll have to check out Jules Shear. Yes, I joined TLXN in the summer of 2005, right after they'd recorded Odyssey. But I played the CD-release party for that record at Cafe Du Nord, etc. etc. but we had already written new songs together and recorded "Into the Fire" a few months later. Charles Potts was my poetry and life mentor as a college student, connecting daily from afar when I was attending the University of Pittsburgh. He actually came to our show in Oregon a few weeks ago and it was great hanging with him. I am in my mid-20's, but Gabriel and Brett are both in their early 30's. And Steve, you're right on with the Miles Davis reference, according to the Village Voice blurb on The Love X Nowhere earlier this year: "If you like melody, these guys are for you. But what really sends me is the 13-minute 'Spill The Ink,' which drifts along like Miles Davis discovering shoegaze music and Television at the same time." As far as Ginsberg managing Dylan, I just remembering hearing that in high school, but I think it was more of Ginsberg having some grand goofy scheme to manage Dylan in the 60's (around the time of "Subterranean Homesick Blues"). Don't think it actually happened. And downsides to having powerful models endure for decades? I'm immediately thinking of Sonic Youth. They've been doing it for almost 30 years and, unlike many powerful models, are NOT a nostalgia act. Each album is an improvement on the last and their concerts are always incredibly heavy on the new stuff. What I'm getting it at is that when a band endures so powerfully for decades, their fans would rather just go see them, or just buy their records and keep up with their career instead of being turned on to bands that might be influenced by said band. BUT, as I am reminded so often when seeing modern jambands, what stands out (and what competes with the enduring models) is a band that uses their influences as inspiration rather than blueprint. They take what they love about the enduring models and do something completely different with it. Sonic Youth was partly (though profoundly) influenced by the Grateful Dead, but (unlike most jambands) you can barely hear it in their music. It's the ethos (unpredictability, danger, connecting songs, doing long, spacey free-form jams and utilizing an overall mixture of dark and light) that Sonic Youth took from the Dead, rather than taking from the Dead that you should wear tie-dyes, utilize a hoola hoop and sing happy songs. Oh! And being a poet translating into being a lyricist? Hasn't happened yet, no matter how I've tried. It's soooooo different. I did point Gabriel and Brett to my poetry in hopes of using some of it for lyrics, but nothing has come of that yet.
Steve Silberman (digaman) Wed 18 Apr 07 14:35
That's very well put, Adam.
Brett Chulada (brett-chulada) Wed 18 Apr 07 15:18
Hello everybody, seems i'm a little late to the party. Read once through everyone's post to get an idea of where yer at, which is everywhere! So I'll dive in somewhere... The town of Patterson. Christian's everywhere. Road food. Slipping into southern accents. Impromptu frisbee golf games. 5 guys in a van...hilarious! I found something of myself out there. It felt natural for me to live that way and i enjoyed all aspects of the road. Being on task and on time, meeting new people. it's repetitive but rewarding for that brief flash when the amplifiers are warm and the spirit moves. I like it, and i hope the handful of people in attendence did, too. That was the bummer, empty venues and garbage bands. But you gotta start somewhere. As far as describing what forged my musical identity, the allusion to Bowie is a great start. He borrowed from all over without hiding it, while at the same time had his own powerful identity. I like that, it's alchemy, no? as an early teen, my cousin's kevin and peter hughes played me some punk rock and then band's like The Cure, Depeche Mode...these bands i still listen to now, especially The Cure. Robert Smith I think has the most unique and powerful voice. not to mention a great lyricist and under-handed guitar style. I remember listening to 'Faith' back then and having the most vivid, epic mind flights based on the dark, seemingly romantic mood of the music. then there came punk/metal rebellious phase. not a lot of that stuck musically, just an attitude, maybe. I guess acid changed what i was listening to after that. It really was all about the Pink Floyd. My uncle Paul gave me my first cd for christmas and bless his soul it was 'Ummagumma'. did I spell that right? The dense psycadelia on those first four songs pretty much killed me. I'd trip with my Michael and we'd stay up looking at album covers and learning to all those old works. Hendricks was big for me at that time, too. I remember thinking that he sounded so young and free. Huge skills, huge hands, huge affro. Nutty-ass clothes, even for that time. Then into high school i fell into a long in-depth Rush phase that i don't like to talk about and hopefully hasn't affected my musical identity too much. I worked as a bus boy my junior year and made friends with a co-worker who was also a dj at the college radio station KDVS. we'd share a 40 after work and sit in the restaurant smoking cloves and talking about music. He lent me a small stack of cd's and thank god he did. Love and Rockets, Ride, The Pixies. Around that time I had written my first few songs and recorded them one night in the Unitarian church with my 4-track friend, Jason. the natural reverb in this church was amazing. I don't even know if I have that recording still. My dj friend played the whole thing on his radio show. That felt pretty good. Bowie came into the picture then. Randomly bought a Bauhaus tape, 'Swing the Heartache' BBC sessions. So these are my earlier influences. As well as a steady diet of traditional sho-biz numbers that i was made to learn thoroughly as a member of the high school jazz choir. Not that I borrow from that but it has to have an effect, the pop song structures and such.
Scott MacFarlane (s-macfarlane) Wed 18 Apr 07 15:23
>>> from Gabriel: the band is called The Love (times) Nowhere. I think when most of us get a chance to hear a band that has real potential to make it big, we get in your camp and root for your breakthrough and success. After hearing your CD this morning, I honestly think you guys have that shot. As for the way your band's name is right now, I think this might get in the way. This is just my opinion, but I've been seeing the name in The Well now for a week-and-a-half and TLXN took some time to stick in my aging hippie brain. The fact that you had to explain that the X was 'times' is also an indicator that you must have had people ask you "are you guys with The Love Ex Nowhere band?". (This reminds me of the blip on "The Wall" album where the reporter asks, "which one of you guys is Pink?) Why not just "Love X" as an easier to remember name that still has ambiguity and mystery attached? After all, the Chicago Transit Authority became Chicago to no ill effect. FWIW
Brett Chulada (brett-chulada) Wed 18 Apr 07 15:37
I mentioned my cousin Peter Hughes without saying that he plays in 'The Mountain Goats'. They're becoming quite popular. All the cousin's from my mothers side whose family's settled out west play music. Adam isn't lying when he says I have a computer allergy, although mine isn't nearly as bad as my brother's. It's a big step to use capital letters. please excuse any future grammer train-wrecks. Also want to say that I'm really impressed with the whole WELL set-up. Good job, this is fun.
Michael Zentner (mz) Wed 18 Apr 07 15:46
>>> what was it about the great groups and innovators of the '60s -- from the Beatles to Janis to Hendrix to the Dead, on and on and on -- that made them such enduring models so many subsequent generations? I'm not sure that's it necessarily, although it sure seems there's way more great popular music recorded now and in the 60's than there was in the 40's. But the 60's really brought change in intergenerational music. My son and I listen to a lot of the same music. Our parents listened to completely different stuff than we did for the most part. Rock and Roll has become the great leveler. Everybody likes it. And the 60's musicians pretty much established the canon.
Adam Perry (adamice9) Wed 18 Apr 07 16:19
Didn't Muddy Waters, Robert Johnson and Co. establish the canon? Talk amongst yourselves... Just to clarify -- the venues on tour weren't ALL empty...we had some great nights musically with hundreds in attendance, some great nights musically with a dozen or so folks watching, and even so-so nights musically with a dozen folks in attendance, which are the nights that stick in your gut for a while. And Brett's brother is Michael Chulada, who plays keyboards in TLXN. That's what he meant in the line "I'd trip with my Michael and we'd stay up looking at album covers and learning to all those old works." No, "my Michael" isn't drug slang. ;-) And the name thing? People are constantly calling it "The Love 'Ex' Nowhere" and we really don't mind...believe it if you need it, call it what you like. As Gabriel said, there isn't much meaning behind the name, and the "TLXN" moniker works just fine too. As an aside, we've had some hilarious translations along the way: people calling it "The Love BY Nowhere" or even "The Love TEN Nowhere," as if we're using roman numerals.
Adam Perry (adamice9) Wed 18 Apr 07 16:22
Hendricks? As in the Carl Hendricks trio from Pittsburgh? I didn't know he was a big influence on you, Brett. Oh...you must've meant Hendrix. :-P
Gail Williams (gail) Wed 18 Apr 07 16:28
After having a mac and learning not to say OS ten, I always say "ex" for X now, but I laughed to read on your website that it's sposed to be "times" ! I love that long "Spill the INk" cut, by the way. Fine for working on spreadsheets and wishing you were driving an open highway...
Steve Silberman (digaman) Wed 18 Apr 07 16:33
> Didn't Muddy Waters, Robert Johnson and Co. establish the canon? Talk amongst yourselves... Heh, indeed.
Gabriel Leis (gummyazul) Wed 18 Apr 07 16:40
>>> what was it about the great groups and innovators of the '60s -- from the Beatles to Janis to Hendrix to the Dead, on and on and on -- that made them such enduring models so many subsequent generations? a little devil's advocate argument here is that it's easier and cheaper for a record company to sell their back catalog, than develop and break new acts. walk down haight street and look in the shope windows. it's commerce people, and the elevation of those musicians and their physical images to cult status is a tried and true marketing tool.
Helen (hlnbkt) Wed 18 Apr 07 17:05
hi, kids. . . old hippie Deadhead here. I've listened to Odyssey and love the lushness and expressiveness. And I was glad that when I first put the cd on what came out was NOT the music of a lot of jambands of today - particularly, the kind of music that meanders forever but goes nowhere. It seemed much more polished. And accessible, yet with a tasty mix of styles. Of course I could hear some Floyd references, but I think I heard a little Beatles in there, too. (Maybe from the Magical Mystery Tour era.) My question to you is: how would I hear about you today? With radio so compartmentalized, with the club scene somewhat ambivalent here in San Francisco, how do you get the word out about yourselves (other than the little "Love X Nowhere" stickers that (cough) have appeared in many places around town). Listings in the paper don't often tell the story.
Gabriel Leis (gummyazul) Wed 18 Apr 07 17:12
we need some of that great marketing i was complaining about in my last post. what can we do but just forge ahead and use our collective best judgements and intuition? we need a label, a better booking agency, a competent manager, a PR firm, and all the other accoutrement that EVERY successful artist has. to get there you need what is known in the industry as "a break". as we wait patiently for ours, we keep doing what we do; writing songs, improving our musicianship, and playing great shows to small but appreciative audiences.
Adam Perry (adamice9) Wed 18 Apr 07 17:15
We've been reviewed in SF Weekly, the Onion, the Chronicle, the Oakland Tribune, Mesh...basically all the relevant local papers...and you can read all the reviews at www.thelovexnowhere.com. That's one way of gaining a larger audience. And many local podcasts, such as the Bay Bridged Podcast and Noise Pop's podcast, have featured us...but although we get play on independent stations like SomaFM, KPFA and the like, San Francisco radio (i.e. mainstream radio) is hard to crack as a band that's been gigging hard for only about a year and a half and is just now talking to labels about doing a debut full-length. Word of mouth and opening for large crowds by playing on bills with bigger bands, like we did two weeks ago at the Rickshaw Stop for a great NYC band called Calla, are probably the best at the level we're at. And....drumroll....Myspace. Myspace has been great for gaining fans and booking shows.
Gail Williams (gail) Wed 18 Apr 07 17:20
I have a weird question. A family member of a friend of mine represents a few serious professional acts on major labels, and one thing I remember from a conversation at a dinner some years back was his moaning that one of his performers had more of a chance to really make it than anyone else he represented, but the singer was starting to have qualms that producing his songs to be more accessible, (successfully!), playing bigger venues and being on tour for long stretches was a less authentic life, not the life that the songs were about. If you could just click your heels and get there, how successful would you want to be? Are you rooted in local community, or is that secondary?
Gabriel Leis (gummyazul) Wed 18 Apr 07 17:35
About as successful as the (current) bands I love the most. Meaning being on a small but devoted label, playing and selling out 400 - 1500 capacity venues across the nation, occasionally playing to 50,000 at summertime festivals, and releasing an album of inspired new music every year. I personally don't feel so rooted in local community, because we haven't really been embraced by it. Musically and stylistically, we are not the "it" sound of the moment, thank god, but a tougher road finding your audience. Great SF bands like Deefhoof and BRMC completely bypassed the SF scene on their way to international recognition and stardom.
Adam Perry (adamice9) Wed 18 Apr 07 17:39
What Gabriel said, although Arcade Fire is more the model for me at the moment. Personally, being able to continually fill clubs the size of the Independent, Great American and Slim's (plus play the huge festivals and magical venues like the Greek in Berkeley) around the country and then the world is about as successful as I would choose to be if given the choice between that and headlining the summer sheds, arenas and stadiums. Past that level, I believe people want more of you, the want a piece of you, and it's incredibly difficult (nearly but not totally impossible) to continue a healthy level of creativity, honesty, and even maintain inter-band friendship. That said, we're actually eager to work with a producer on our debut full-length, for which we already have a dozen songs written. But not to make our songs more accessible, just to make them better. Personally, I wouldn't want to work with a producer who said something like "if you change such and such about this song it'll be a hit." I'd rather him say "if you change such and such about this song it'll sound ten times better." Then again, if those two statements went hand in hand in the given situation, that's a different story...
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